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If you’re going to a DJ Jackum set, you can expect “big tunes, dubs, and rowdiness”, as he explains it. “People come to these nights knowing that we’re going to go mad, you know. We’re going to sweat. We’re going to go mental.” And that’s exactly what he’s doing at his UK shows at the moment. Time to talk to him!
Hi DJ Jackum! How are you doing?
I’ve been doing well! I’m starting to feel like everything’s really coming together. The shows have been getting better and better. The Jackum name is getting a bit more well-known, and people are starting to get the sound and what I’m trying to do. I’m here for it! It’s all been really positive.
Nice to hear! How can you tell that your sound is catching on?
The biggest thing for me was when fans would start showing up with balaclavas on. I even played a show in Paris where four people in the crowd were wearing the pink balaclavas. I think that’s wicked. It shows that people all around the world are starting to get it. At first I was a bit worried how my more high energy and aggressive style of garage was going to be perceived, but to see that there’s people reacting that well to it, that’s nice to see.
I originally got into the scene through 140 dubstep, grime, and bassline. Coming from the North of England, bassline has always been prominent in the underground music scene. It’s those genres where you get that high energy. You would go to the rave and when the tunes dropped you were jumping around, you were going crazy, you were calling for wheel ups… The energy was through the roof. There are probably a lot of contributing factors but energy seemed to go
slightly down in the rave, especially after covid. Everything almost got reset. My whole vibe is that I want to get the rave back to where people were jumping around screaming and losing their minds. That’s my happy place.
When did you realise that there were a lot of people wanting that same feeling back?
Parklife was a big moment for me. This year I got to go back to back with Badger and PJ Bridger. It was super interesting because it felt like the triangle of garage. You had Badger bringing the uplifting and happy side of garage, PJ brought the underground vibe, and then you’ve got my high energy. Playing out in front of all those people was amazing, the reactions were sick. That’s when I felt like, yes, let’s do it.
You’re on quite a busy schedule at the moment, with a headline tour coming up next year…
It’s great. At the start of this year I had a full-time job which I didn’t like very much. To be in a position where I’m busy enough to do music full-time now, it’s literally a dream come true and I’m super grateful for it. To be looking forward to playing the UKF15 Drumsheds show is insane. UKF was our introduction to electronic music back in the day, so to get shows like that coming in is unreal.
With my upcoming headline tour, we want to go smaller again. Small venues, they’re the bread and butter of the UK dance scene. Playing huge festivals and clubs is wicked, but smaller 200 to 400 cap venues… they just have a totally different feeling. Everyone’s in a dark sweaty room together and dancing. It’s the best feeling in the world. The idea behind this headline tour is to create shows with this tight-knit feeling. It’s going to be six dates full of pink balaclavas. My dream vision for this tour is that I want to be at the ticket office. I want to be the one putting the wristbands on people, and give them the balaclava. I want to look every fan in the eye and say, “Thank you for coming. Let’s go mental in half an hour’s time.”
A big part of the tour is that we’re going to be working with specific promoters that we love. In Leeds you’ve got Airspace, in Manchester there’s Ghosts of Garage, in the Midlands you’ve got Psyked… These are all promoters that I hold near and dear to my heart. You always hear about DJs, and about venues but no one sings the praises of promoters. Without the promoters, there’s nowhere for people to go and party and so we’re going to be working closely alongside some of those promoters that I’ve mentioned.
You’re known as this guy with the pink balaclava and big glasses. How did you come up with this look?
I’ve been wearing the pink bally for over a year and a half now. I wish I had some insane story about when I started wearing it, but I never really thought about it at the time. Me and my partner, we have a dress-up box at home for house parties. We have this box full of stupid hats and glasses, and we make everyone put a hat on out of the box. We had this pink balaclava sitting in there and one day I just put it on, not thinking anything of it. The reaction to it from people was wicked, and it got me thinking. I’ve always loved the idea of anonymity. Daft Punk for example, their faces are hidden. MF Doom, the rapper he wears a mask, Slipknot even. So, when the reaction to the balaclava was good, I used that as a go-ahead to lean into it.
There is something to be said about anonymity. Does it feel like people focus more on the vibes and the music then?
On one hand you’re removing your identity from the music, so that should in theory shift the focus onto the music and not the identity. But then again, by hiding your face and having this other identity, it becomes about the identity as well so it’s almost backwards. The number one benefit of the balaclava for me, it definitely has an effect on me when I’m performing. It’s like a plate of armour. You feel protected behind it and that takes some inhibitions away from you and brings out a confidence in you that you wouldn’t normally be able to tap in. I find DJing terrifying, I really do. I still get very, very scared before my sets, but putting on the pink balaclava has become a ritual. I’d be backstage and then five minutes to go, the mask comes on, the glasses go on… That’s when I get in the zone. It puts me in a frame of mind where it’s not Jack going up on stage, it’s Jackum, and Jackum goes mental, he goes crazy.
You were saying how there’s people showing up in pink balaclavas to your sets. How does that feel?
I recently played a set at BOG Bristol, where we handed loads of balaclavas out to the people behind the decks. It was probably one of my favourite sets I’ve ever played because everyone behind me was wearing the balaclavas. Their faces were hidden, and I think that that helped them to go mental and really get into the music. They all knew that they’re on camera and being filmed so normally you might be a bit worried about “do I look good, do I look too drunk, my mum gonna see this or dad gonna see this…” But because everyone was in the masks, they felt how I felt. The balaclava plays a massive part in that because they feel how I feel, where they’re protected and they’re hidden, but in plain view at the same time. They can dance how they want, they can do whatever they want, and no one no one knows it’s them. It definitely has an effect on people. It gave me a lot more confidence as a DJ, and I think anything a more up and comer DJ can do to try and put their nerves at ease that isn’t drinking a ridiculous amount of alcohol is positive.
Your music has got quite a unique style to it as well. How did you get there?
The vocals that I sample play a big part in it, that’s my grime influence coming in. Talking about everything that I love, high energy, people going mad, that’s grime, and grime demands that reaction out of people. It’s nearly the only place where I’ve ever found vocals that match the energy of my music. Another part is, when it comes to production, I’m absolutely not a perfectionist. It doesn’t have to be the most beautifully crafted, spent 100 hours on a thing for it to be enjoyable. Sometimes it’s okay if it’s a bit rough around the edges. I was massively into punk and heavy music when I was younger, and I still carry that whole aesthetic and mentality with me. All the music I love is rough around the edges, it’s got imperfections. In the music scene right now, there’s a massive emphasis on technical perfection and making sure the mix is perfect. To me, that is the most uninspiring thing about music, that’s so boring! I want to push a bass into a distortion and get the loudest, angriest sound possible and then run it.
I’ve been producing for about 10 years now. When I started out, I made the mistake of focusing on the technical details too much. I went down a rabbit hole, but then I reached a spot whereI realised that I hadn’t actually made a song and exported it in years. I was a producer, but I wasn’t producing any music. This realisation changed my whole approach to one where I absolutely had to finish every track by the end of the week. Whether I thought I could work on it more or whether I thought a section needed work… If I hit a week on a track, then that was it. I was forcing myself to be happy with unfinishedness. I teach 1-to-1 music production lessons, and I always tell people to aim for ‘80% finished’. If you can get your track 80% done, that’s good enough. It’s way better than a song being sitting on your hard drive unfinished for six months.
You recently released ‘One More’ on UKF, a 160 bpm dubstep track. What’s the story behind this one?
I normally make garage and 140, so this is much quicker than anything else I’ve done. This track is the epitome of what I’ve just been talking about, something being rough around the edges, full of layers. The whole track is based around this huge gnarly bass and when I play back the bass, it always seems to sound different. It crunches in different ways. ‘One More’ is the prime example of a loud, rowdy tune. UKF is a perfect place for it.
Any last thoughts?
I want to shout out all of the promoters and everyone that we’ve worked with. Ghosts of Garage, Psyked, Airspace… There are too many for me to mention but all the promoters that have backed what I’m doing um and put me in those rooms with the fans. I’m super excited to see what comes next.
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The tech giant's new AI-powered DJ tool doesn’t rely on existing tracks, instead creating entirely new music in real-time by adjusting sounds based on user-generated text prompts. Working in partnership with Grammy-winning musician Jacob Collier, Google refined the tool to be more accessible, encouraging novel forms of musical experimentation for mainstream audiences.
Developed by the company's artificial intelligence research laboratory, Google DeepMind, the tech makes it possible for anyone to mix music live simply by typing phrases like "uplifting trance" or "dark cinematic tech house." The project represents an attempt to "open the doors of music creation" beyond professional DJs," according to a blog post shared by Google DeepMind.
There's no doubt, however, that this AI-driven "DJ" experience raises timely questions about authenticity in live performance and may amplify the ongoing debate over AI's impact on the creative arts. It's a groundbreaking development, but one that could be regarded by traditional DJs as a bastardization of turntablism and the precision, practice and intuition behind the art form.
Google's AI-powered MusicFX DJ tool.Google DeepMind
Google has added several features to MusicFX DJ that are usually exclusive to seasoned DJs, including control over specific instrumentation. With options to modify key, tempo and the "mood" of the music, the tech affords users the flexibility to personalize their sessions, which can be shared with friends in collaborative "jam sessions." They can even download 60-second clips of their creations, expanding MusicFX DJ's utility for online creators looking to add original soundtracks to their content.
Google's first foray into generative music, MusicLM, used advanced machine learning to create nuanced compositions generated from text alone. MusicFX DJ takes the core principles of MusicLM and applies them in an interactive setting, adding more DJ-oriented controls and the ability to modify multiple prompts simultaneously.
You can find out more about MusicFX DJ via Google DeepMind's blog post and watch Collier utilize the tool below.
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HALO serves as both a rebrand and an expansion of Creamfields' fan-favorite Runway stage, which debuted back in 2022. The cyclical outdoor arena stands at a diameter of 45 meters and will be outfitted with "pioneering 360 and overhead video, lighting and sound" from the multi-disciplinary UK design studio Lucid Creates.
"We're incredibly grateful to be given the space and the opportunity to create such ambitious structures and shows like Runway and now HALO with Creamfields," said the firm's Founder and Creative Director, Chris Carr. "It's not an easy thing to pull off, but creating these groundbreaking experiences really is what drives us all."
Check out an artist's rendering of HALO, provided by Creamfields, below.
c/o Creamfields
View the 2 images of this gallery on the original article 2025 is set to be the festival's "most ambitious" year yet with regard to its production, per the press release. The reveal of HALO follows that of another groundbreaking stage, APEX, which Creamfields claimed will be "the largest indoor festival superstructure in the world."
APEX is expected to have a capacity of 30,000, topping that of Madison Square Garden, Hollywood Bowl and the Gorge Amphitheatre, among other iconic music venues.
Creamfields returns to the Daresbury Estate in Cheshire, England over Bank Holiday Weekend from August 21-24. The 2025 lineup has not yet been announced at the time of this writing.
Tickets will go on sale Wednesday, October 30th at 9am GMT.
Follow Creamfields:
X: x.com/Creamfields
Instagram: instagram.com/creamfieldsofficial
TikTok: tiktok.com/@creamfieldsofficial
Facebook: facebook.com/officialcreamfields
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Carl Cox announced his new show called ‘Evolution’ making a debut at Ultra’s Resistance Megastructure in March. Rather than a hybrid live set, this will be a fully live set. There will be no pre-recorded tracks being played like a traditional DJ set. He will be using a combination of hardware and software on stage to create and manipulate sounds live as he performs. It will be something like watching a DJ/producer create a track from the first element, and then adding layer after layer of different sounds until you see a full track created.
He says he’s been planning this for a long time and he provided a little preview in his Instagram post. You’ll see a setup that looks like something you might see from Stephan Bodzin or Porter Robinson. Carl Cox frequently talks about how he likes to challenge himself and create the same level of effort that was required back in the days of Vinyl DJing. Needless to say, this takes things to a totally new level and we’re psyched to see it in action!
The post Carl Cox Announces Evolution Live Show Coming to Ultra 2025 appeared first on EDMTunes.
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Central Cee: A British Rap Icon Comes Full Circle
Central Cee’s return to Primavera Sound marks an exciting moment for the festival. When he performed in 2023, he was an up-and-coming talent; now, he’s a transcendent figure in the urban music scene, representing a modern-day Brit-pop for the drill generation. Known for hits that capture the voice of the streets with a melodic and relatable style, Central Cee’s sound resonates from the pavements of London straight to the hearts of his fans. His addition adds another layer to an already eclectic lineup that embraces the present and future of music.
A Stacked Lineup: Pop, Indie, and Urban Heavyweights
Alongside Central Cee, fans can catch headliners Charli XCX, Sabrina Carpenter, and Chappell Roan, each bringing their own distinct style to the festival. This year’s bill also features a mix of Indie Rock and Electronic heavyweights like LCD Soundsystem, FKA Twigs, Fontaines DC, and Haim, along with cutting-edge acts like Clairo, Turnstile, TV On The Radio, and Floating Points. With acts from Waxahatchee to Beabadoobee and Caribou, Primavera Sound 2025 promises to be a deep dive into the current music landscape, giving fans a taste of everything from dreamy Pop to gritty urban beats.
Ticket Info, Fan Sale, and Exclusive Offers
The fan sale for Primavera Sound 2025 opens on October 28 at 11:00 CET, with general admission passes priced at €295 and VIP tickets at €495, both subject to availability. Furthermore, General sales will follow on October 29 at 11:00 CET via Fever. Revolut users will enjoy a 10% discount on full festival tickets, adding perks for Primavera Sound Porto and other Primavera tours in Spain, extending the festival experience well beyond Barcelona.
Primavera Sound Barcelona 2025 is set to deliver another unforgettable festival weekend, with an iconic lineup celebrating music’s present and future. Central Cee’s addition, along with a blend of new and legendary acts, makes this year’s festival unmissable for fans across the musical spectrum.
Lastly, for tickets, and more information, be sure to check out their official website, here.
The post Central Cee, Charli XCX, Sabrina Carpenter And More To Headline Primavera Sound 2025 appeared first on EDMTunes.
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An Immersive Experience in Los Angeles
The standout show of the tour is Carl Cox’s first-ever 360° performance at the Shrine Expo Hall in Los Angeles. This in-the-round format immerses the audience, creating a unique visual and auditory experience. Fans surround the stage from all sides, allowing for deeper engagement and an entirely new way to experience Cox’s energy and sound.
Featured Collaborations on Tour
During his November tour, Carl Cox will share the stage with notable artists, enhancing each event’s dynamic:
Vintage Culture: The famous Brazilian DJ and producer, renowned for blending soulful house with pop hooks and tropical rhythms. He will perform alongside Cox at EDC Orlando on November 8th. Afrojack: The Dutch DJ and producer, known for his energetic electro house tracks and collaborations with major artists, will join Cox at the Shrine Expo Hall in Los Angeles on November 9th. These collaborations promise to elevate the tour’s energy, offering audiences a diverse and top tier dance music performance.
Tour Highlights and Sound Evolution
From bustling clubs to massive festival stages, Cox’s tour promises dynamic beats and diverse musical blends. His sets move effortlessly from soulful house rhythms to deep, pulsating techno, ensuring a range of sounds that keep the energy at a peak. When Cox shifts into Hybrid mode, expect cutting-edge creativity, where live elements blend seamlessly with his DJ mastery.
Carl Cox Live: November Tour Dates
The tour will hit major North American cities, featuring both club nights and festival appearances:
November 8th: EDC Orlando – DJ Set B2B with Vintage Culture November 9th: Shrine Expo Hall, Los Angeles – Hybrid Set, 360° In-The-Round November 15th: Club Space, Miami – DJ Set November 16th: Seismic Festival, Austin, TX – Hybrid Set November 17th: Dreamfields Festival – Hybrid Set November 22nd: Better Together Festival, Phoenix, AZ – DJ Set November 24th: Zouk Nightclub, Las Vegas – DJ Set Ticket Info
Tickets are available now, and demand is expected to be high. With this being Cox’s last chance to perform in North America in 2024, these shows are essential for any fan of electronic music. If you are interested in the Los Angeles 360° Shrine Expo Hall show and would like to buy your tickets now, they are on sale at Golden Voice.
Don’t miss out—experience one of Carl Cox’s 2024 final shows in North America! Visit here for more details and ticket information.
The post Don’t Miss Carl Cox Live in North America This November appeared first on EDMTunes.
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Beyond its initial dance floor impact, “Delta” – his fourth milestone release on the esteemed Sinners imprint – has importance. Like its geographical designation, the song is a confluence of musical currents where Hamerling’s trademark melodic sensitivities meet the raw intensity of modern progressive trance. Those following his path should not be surprised by this synthesis; after all, three consecutive endorsements from Armin van Buuren’s A State of Trance have already verified Hamerling’s capacity to negotiate the fine balance between commercial appeal and creative integrity.
“Delta” differentiates itself mostly with architectural accuracy. The song develops like a contemporary Dutch skyscraper: methodical in its basis, audacious in its vision, and arresting in its finished form. Whereas delicate melodies float above like morning mist over Rotterdam’s harbour, the deep, rolling bassline produces a hypnotic undertow. This interaction among aspects highlights Hamerling’s development as a producer; every part supports the entire instead of vying for attention.
Living in the La Guarderia of SLAM! radio, Hamerling has grown to have a close awareness of both physically and emotionally what moves a dance floor. This feeling penetrates “Delta,” especially in its exquisite tension and release cycles. Its timing, which falls during Amsterdam Dance Event (ADE), seems less like chance and more like planned genius; this is music meant to occupy those vast warehouse venues where the future of electronic music is created yearly.
Though they clearly point toward the future, the rivers of influence coursing through “Delta” might have echoes of electronic music’s past. And based on this publication, capable hands will be in charge of future.
The post Jochem Hamerling lands on Sinners with ‘Delta’ appeared first on The Groove Cartel.
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EDM.com has discovered a TikTok video in which Tesla's Optimus bot surprised a group of inquisitive attendees at the company's recent "We Robot" event with its top music pick: Daft Punk. Speaking with the group, the Optimus bot said EDM is its favorite genre before referring to the legendary duo by name.
The interaction added a dash of pop culture flair to the high-tech event, where fans had the rare opportunity to interact with Tesla's unreleased technology. The humanoid bot's casual nod to Daft Punk delighted attendees, especially since CEO Elon Musk has championed EDM culture in the past.
Watch the full TikTok clip below.
View the original article to see embedded media.
Tesla's affinity for the genre isn't new, but this latest news out of "We Robot" adds a new twist. Musk has hosted massive EDM-inspired events in the past, such as the "Cyber Rodeo" at Tesla’s Texas Gigafactory and rave-fueled "Giga Fest" in Berlin, where techno became an integral part of the celebration. He has also flirted with part-time music production, releasing his song "Don't Doubt ur Vibe" back in 2020.
The "We Robot" event, held at Warner Bros. Discovery studio, was already drawing attention for showcasing Tesla's latest advancements in robotics and autonomous vehicles. However, the Optimus bots stole the show by roaming around the crowd, dancing and even conversing with fans in varying accents.
Their introduction hints at Tesla's vision for consumer-ready bots, with Musk predicting a future where these high-tech companions could be within reach for roughly $30,000.
Musk in June 2024 claimed that Optimus could enter limited production in 2025. He reportedly expects the bots to be available for households by 2027.
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There’s a musical spy lurking above San Francisco's Mission District: a solar-powered Android phone hidden on a street pole in an undisclosed location, tirelessly listening to every "bop" it catches below. Tracking the sounds of the 415 like a silent music sleuth, the low-budget contraption is operated by an old Android phone rigged with Shazam and logs an endless playlist of everything it hears.
The curious invention by Riley Walz is no ordinary gadget. Nicknamed the "Bop Spotter," it’s always on, ready to tag every song played in earshot. So far, the eavesdropping device has identified many electronic anthems crossing into its neighborhood orbit, including "Where Are Ü Now" (by Skrillex, Diplo and Justin Bieber) and "Break Free" (by Zedd and Ariana Grande).
You can even track and download the entire playlist to see the music being recorded in real-time. The Bop Spotter's log reveals a genre-blending mix of pop hits, hip-hop throwbacks, reggaeton bangers and dance anthems. With a CSV file downloadable from Walz's website, anyone can tap into the cityscape's sonic diary and imagine they’re walking right through the Mission District's streets.
For Walz, the payoff is more than just capturing the next hit. His favorite moment so far has been clocking the Bill Withers classic "Just the Two of Us" at 3am in, presumably, a moment of pure spontaneity.
Walz says he drew inspiration from urban tech like the police's ShotSpotter, which is designed to triangulate the location of gunshots in dense areas, but his project has a different mission altogether: tracking the city's organic soundtrack. The Bop Spotter and its covert, nonstop DJing gig cost him around $100, he told 404 Media.
"This is culture surveillance. No one notices, no one consents," Walz writes. "But it's not about catching criminals. It's about catching vibes. A constant feed of what’s popping off in real-time."
You can find out more about the Bop Spotter and access its full music log here.
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Some artists excel at their field of expertise: you see them lead the entire corner of their sound and inspire generations with their techniques. But when was the last time you listened to a man who can do a bit of everything, and do so in proper style? We’ve got news for you today. Meet Sporty-O.
Sporty-O
Sporty-O is a multi-genre producer and vocalist from Atlanta, whose front has been bridging the gap between EDM and Hip-Hop for a long while. During his over ten years of adventures in the industry, he’s had over 100 releases — out of which many became Beatport Top 10s —, including which stands ‘2Nite’, his 2010 work with Felguk, and the official song for EDC.
After crushing it at festivals such as EDC itself, but also Ultra, Das Energi, and many others, he’s now teamed up with production duo Lorme & Pedrumz for a larger project: a conjoint album. This LP will be released on November 9th, and to make the wait more easy to digest, they’ve lifted the first single off the body of work.
‘Angelic Psychedelic Relic’
Out of context, the title of this track sounds like a tongue twister, but put into context, it makes perfect sense. You may even surprise yourself singing to the lyrics. ‘Angelic Psychedelic Relic’ is one of the many collaborations you’ll soon get to hear between Sporty-O and Lorme & Pedrumz.
A feel-good, easygoing Drum & Bass composition, this track is the optimal candidate to showcase both acts’ style and approach to music production. The tune is truly infectious, with Sporty-O’s vocals nodding to the noughties at the same time that the beat — subtle but effective — carries you onward with swift drums and several layers of ear candy.
Listen to Sporty-O and Lorme & Pedrumz‘s ‘Angelic Psychedelic Relic’ by hitting the ‘Play‘ button on the Spotify player below. Also, stay put for the album, coming up in just a few days. Are you a producer and you’d like to see your tracks on our page? Then head over to this link right here, you champ. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry.
The post Sporty-O And Lorme & Pedrumz Lift ‘Angelic Psychedelic Relic’ From Upcoming Conjoint Album appeared first on EDMTunes.
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2024 has been one great year for Dance music superstar Ferry Corsten. He’s been working and showcasing his upcoming album Connect for an entire year already, slowly unveiling single after single. The theme of the album is, as you might remember from our interview with him, old sounds, old souls, but modern approach to production and some new, sometimes futuristic flair.
After tracks that felt truly unreal to have released in 2024 such as ‘Fulfillment‘, his collaboration with Marsh, and ‘Chaos‘, a joint work alongside Silva City, he’s releasing one of the more nostalgic pieces we’ll see in the album. This time, he’s teamed up with Classic Trance quintet SUPERSTRINGS, to deliver their single, ‘Remember‘.
‘Remember’
And remember you will. This track is simply pure, absolute bliss. Detuned saws, gated pads, legato leads, an incredible drum rack, reverse kicks, and many yesteryear goodies come together to create something out of this world, or rather, out of this timeline. Close your eyes and tell me this is not early-stage Gouryella.
‘Remember’ effortlessly transports the genre’s newcomers and loyal fans alike back to the days of old. And that’s what’s so valuable about this piece: it’s not a modern rendition of a Trance classic, for it is a Trance classic by itself. And me, being me, a Classic Trance addict, I have to say I’ve had such a fun year with the whole “old is cool again” wave. Between Ferry, SUPERSTRINGS, Silva City, and Ben Hemsley, Christmas arrived early for yours truly.
Listen to Ferry Corsten and SUPERSTRINGS‘ amazing ‘Remember’, by hitting the ‘Play‘ button on the Spotify player below. Also, click here to support the release on your platform of choice. Are you a producer and you’d like to see your tracks on our page? Then head over to this link right here, you champ. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry.
The post Ferry Corsten Is Joined By SUPERSTRINGS On Classic Trance Gemstone ‘Remember’ appeared first on EDMTunes.
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On October 14, 2024, Billboard’s “Market Watch” section showed an alarming drop in vinyl sales. Data from Luminate, the company responsible for tracking music sales, indicated a massive decline that Billboard quickly broadcasted. Just one day later, though, Luminate clarified the figures. The actual sales were up by 6.2%, not down by a third. Billboard corrected the mistake and added a disclaimer to their report, but the damage was done.
The error resulted from changes in how Luminate collects data. Traditionally, independent record store sales were estimated based on samples. But starting in early 2024, Luminate implemented a more direct system, tallying actual sales from record shops across the country. This change, though intended to improve accuracy, disrupted year-over-year comparisons. Luminate even acknowledged the difficulty in drawing direct comparisons due to the new system.
This reporting shift upset independent record stores, some of which joined the Vinyl Record Manufacturing Association (VRMA) to create their own vinyl sales chart. Meanwhile, Billboard’s updated “Market Watch” page continued to show inflated year-over-year declines, even after the original error was acknowledged. Billboard’s parent company, Penske Media Corporation, has since declined to comment, leaving music lovers and industry insiders waiting for a more stable reporting solution.
Notable EDM Albums on Vinyl
Despite the reporting mix-up, electronic music continues to thrive on vinyl. Some must-have vinyl releases for EDM fans include:
ODESZA – The Last Goodbye Swedish House Mafia – Paradise Again Justice – Justice (aka Cross) Daft Punk – Discovery Porter Robinson – Worlds Flume – Flume Rüfüs du Sol – Bloom This debacle underscores how fragile tracking systems can be—especially when independent record stores, the heart of vinyl culture, feel overlooked. So, while the numbers may be in flux, it looks like the passion for vinyl isn’t going anywhere.
Photos courtesy of Reddit u/logiebear77 and u/Chrissss9999
The post Billboard Misreports Vinyl Sales Numbers, Takes Detail Off Website appeared first on EDMTunes.
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Launched by the dubstep superstar's event organizer, Excision Presents, the oceanfront weekender debuted by virtue of a splashy takeover at Cancún's Marriott Resort and all-inclusive Four-Diamond Paradisus Resort back in 2022. It has since become one of the top destination events for fans of bass music, joining the ranks of the company's other fan-favorite festival properties, Lost Lands and Bass Canyon.
The fallow year was revealed on Paradise Blue's Instagram page over the weekend. Excision Presents refrained from revealing why, but confirmed the festival will return in 2026.
"It's been a great 3 years on the beach!" the company writes. "While we won’t be returning to Cancún this spring, we are working towards bringing Paradise Blue back in 2026, so be sure to sign up for event updates!"
You can register for updates on Paradise Blue here and follow the festival at the links below.
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Follow Paradise Blue:
X: x.com/paradise_blue_
Instagram: instagram.com/paradisebluefestival
Facebook: facebook.com/paradisebluefest
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A touchstone of atmospheric dance music, the illustrious trio is less than two weeks removed from the release of their fifth album, Inhale / Exhale. Spanning 47 shows across four continents, the eponymous tour marks the biggest headlining run of RÜFÜS DU SOL's career, according to a press release shared with EDM.com.
From intimate warehouse parties in Sydney to commanding arena-sized crowds, RÜFÜS DU SOL's evolution to barnstorming headlining act mirrors their transformative music—expansive, bold and increasingly universal in scope. Their upcoming sprint feels like a tour de force for a band that's built their reputation on transcendent live experiences.
"Touring has always been a way for us to connect with our fans on a deeper level, and seeing this global response to Inhale / Exhale has been moving," the band said in a statement. "We can't wait to share these moments with everyone next year."
The majority of concerts are now sold-out. Highlights include a night at SoCal's iconic Rose Bowl Stadium, an "immersive one-night-only performance" at London's Crystal Palace Park and five hometown shows in Australia.
You can find the full list of "Inhale / Exhale World Tour 2025" dates below and purchase passes here.
c/o Live Nation
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A masterstroke of deep dubstep, the wobbly track is out now via Wakaan and arrives hotly anticipated after becoming a staple in the DJ sets of both producers throughout 2024. It's a seamless blend of beauty and chaos, both a brain-bender and a body-shaker.
"This one always gets some of the craziest crowd reactions whenever we play it live," Sully said of the new single.
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"Ear Candy" is a full-blown showcase for both Sully and PEEKABOO, the latter of whom was named one of EDM.com's best music producers of 2023. It's that signature PEEKABOO wonk, twisted into new shapes and textures by Sully's precise sound design.
Balancing filthy bass drops against moments of cinematic grandeur, the track is a masterclass in duality. That contrast between guttural bass and ethereal production creates a whiplash effect that'll have your neck snapped back and your face screwed up in the best way possible.
In the break, operatic chants eerily glide through cavernous soundscapes while sweeping strings build tension—but the serenity is short-lived. Sully's and PEEKABOO's inimitable dubstep returns and hits even harder to bring the track home, throwing us back into a wormhole of distorted synths that contort through 808s you can feel in your bones.
Listen to "Ear Candy" below and find the new single on streaming platforms here.
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Industry experts warn that without immediate government intervention, the UK could witness the end of an era that has defined generations of music lovers. Michael Kill, CEO of the Nighttime Industries Association (NTIA), has urged the government to provide support to safeguard this part of the UK’s cultural fabric, one which has also left a mark on the rest of the world and its history.
The NTIA’s research highlights the impact of rising costs on the industry. Many clubs are struggling to break even, let alone turn a profit. Additionally, changing consumer preferences and the increasing popularity of streaming services have further impacted the revenue streams of nightclubs.
“The concern is that as we move towards the budget, the narrative that’s coming out is quite dour….looking at alcohol duty and potentially things like the ban on smoking…all of those things are quite onerous and cost heavy“, Kill says.
To adapt to these challenges, some venues are exploring innovative approaches. For instance, by introducing daytime clubbing. However, these creative solutions can only go so far. Either direct monetary intervention, or a sort of ease on restrictions, seems to be the route to preserve the beloved scene in a country which has been in many ways a pioneer of Dance.
[H/T] Sky News
The post UK Nightlife In Peril As 10 Clubs Close Down Each Month appeared first on EDMTunes.
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Music evolves, and it changes and it morphs as the years go on. But some styles manage to stay in the collective mind and, even twelve years after their boom, still put a smile on people’s faces. One of those styles is Progressive House, and a case in point has just come out. Meet Brainheart.
Brainheart
Roei Zoar, known professionally as Brainheart, is a multi-talented musician who seamlessly blends Electronic, Acoustic, and Pop elements into his work. His 2019 debut single, ‘Explore the World’, featuring his sister’s vocals, quickly gained widespread recognition, accumulating millions of streams on Spotify and becoming a viral sensation on Instagram.
Brainheart’s music is characterized by its emotional depth and cinematic quality. Whether he’s crafting upbeat tracks or introspective ballads, his ability to evoke a wide range of emotions sets him apart. Double down on the “emotions” bit with his latest release.
‘I Finally Feel Alive’
Brainheart’s most recent work, ‘I Finally Feel Alive’ is a conjoint work with US vocalist Tommy Marra, and it embodies what we love most about yesteryear Progressive House: emotion, guitars, atmospheres, and euphoria. The track merges Brainheart’s unique production style with Marra’s emotive vocal performance, delivering a song that explores themes of self-discovery, resilience, and the human spirit’s ability to rise through adversity.
The melody is something else, as it serves as a walk down memory lane to those festival moments in which most of us who work in the industry today, fell in love with EDM and its ability to gather people together. It is a beautiful song which pays tribute to a beautiful moment in Dance music history, if you will.
Listen to Brainheart and Tommy Marra‘s ‘I Finally Feel Alive’, by hitting the ‘Play‘ button on the Spotify player below. Also, click here to support the release on SoundCloud. Are you a producer and you’d like to see your tracks on our page? Then head over to this link right here, you champ. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry.
The post Brainheart And Tommy Marra Present The Golden-Era Progressive House Tune ‘I Finally Feel Alive’ appeared first on EDMTunes.
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There's something almost defiantly old-school about dropping a pure progressive house anthem in 2024, but "I'll Be There" wears its traditionalism like armor. The cynics might call it formulaic, but DubVision consistently remind us why some formulas become classic in the first place.
"I'll Be There" delivers another dose of festival fuel, capturing a sound that conjures the romance of crowds dancing and connecting in moments dreamt about for months. The production is vintage DubVision, replete with the kind of soaring synths and festival-ready crescendos that fans of the Grammy-nominated duo continue to covet.
Built around a warm refrain ("I'll be there when you are all alone"), the track doesn't so much speak as it does uplift, looping those words until they transform from lyrics into pure emotional texture. Those vocals envelop listeners in a fuzzy loop of promise and comfort, resonating like a pledge from the heart straight to the dancefloor.
"I'll Be There" is DubVision's first release since they dropped their debut album, Another World, back in July. Listen to the new single below and find it on streaming platforms here.
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Techmission:
Techmission kicked off the weekend with an energy-packed start, featuring the highly anticipated Bangkok debuts of techno powerhouses Lilly Palmer, Trym, and I Hate Models. Lilly Palmer opened the night with a captivating performance, her hypnotic beats driving the crowd into a state of bliss. As she dropped her crowd-favorite track ‘Hype Boy’, the atmosphere became electric, and festival-goers were swept up in a wave of pulsating rhythms that showcased her signature sound.
Trym followed up with a set that perfectly balanced fast-paced techno with atmospheric moments, keeping the audience fully engaged. His relentless beats created an intense energy, showing why he’s a rising star in the global techno scene. But it was I Hate Models who took the night to its peak. As the headliner, I Hate Models delivered a dark, industrial set that was full of raw emotion and gritty soundscapes. The crowd was completely immersed in the powerful, pulsating beats, and the deep connection between the music and the audience made for a mesmerizing experience. Closing Techmission with a powerful set, I Hate Models ensured that this night would be remembered as a groundbreaking moment for Bangkok’s techno scene.
Transmission:
Transmission took the festival into a realm of euphoric highs and trance-fueled energy. Markus Schulz’s surprise Rabbit Hole set kicked off the night, drawing the crowd into a deep and melodic journey. His progressive trance rhythms created a perfect buildup, preparing the audience for the night’s intense moments.
Next, AA Meeting—comprising John Askew and Activa—took the stage and brought a new level of intensity to the crowd. Their set was a masterclass in uplifting trance, with driving beats and seamless transitions that had the entire venue moving in unison. The crowd was kept on their toes as the energy built up for Key 4050, the dynamic duo of Bryan Kearney and John O’Callaghan. Their pounding beats and euphoric melodies elevated the vibe even further, creating one of the night’s most memorable sets.
Ben Nicky then took over, bringing his signature “Emotional Havoc” set to Bangkok. Known for balancing intense drops with melodic, emotionally charged moments, Ben Nicky once again captivated the Thai crowd with his unique blend of energy and emotion. The highlight of the night came with Maddix, whose set blended elements of trance, techno, and rave, delivering a jaw-dropping performance that kept everyone dancing until the early hours. His ability to fuse genres created a perfect finale for Transmission, leaving the crowd exhilarated and ready for the next day.
Hardmission:
Hardmission brought the weekend to its most intense and hardest night, where the energy never dipped for a second. Villain, the iconic voice of hardstyle, hyped the crowd from start to finish, keeping everyone engaged with his signature stage presence and playful interactions. The night started with DJ Isaac delivering a dynamic set, blending euphoric melodies with hard-hitting kicks that had the crowd jumping from the very first beat.
Next up was DBSTF, who turned up the intensity even further. Their set was filled with explosive tracks that pushed the crowd to their limits, maintaining the raw energy that defined Hardmission. As the night continued, the atmosphere only grew more electric with back-to-back sets from Sickmode and D-Sturb. Their relentless pace and fierce drops had the crowd going full throttle, delivering one of the most powerful performances of the night.
Warface followed, bringing his brutal and punishing sound to the stage, keeping the energy at its peak. The crowd erupted as his set channeled the raw power and chaos of Defqon, making the night feel like a truly epic hardstyle experience. Throughout the night, Showtek’s iconic track ‘FTS’ made several appearances, with each DJ putting their own hardstyle twist on the anthem, keeping the crowd buzzing with nostalgia and excitement.
The night came to an unforgettable close with Anime. Her fierce and aggressive set capped off the evening with a final surge of energy, leaving festival-goers exhausted but exhilarated. Anime’s intense beats and raw sound ensured that Hardmission 2024 ended on a high note, solidifying it as a night to remember for every hardstyle lover.
We Are On The Mission Bangkok 2024 was an extraordinary celebration of electronic music, with each night offering something unique and unforgettable. From the hypnotic rhythms of Techmission to the euphoric highs of Transmission and the relentless power of Hardmission, this year’s edition set a new benchmark for festivals in Thailand. As the last beats echoed through the night and the lights dimmed, it was clear that We Are On The Mission 2024 had made an indelible mark on everyone who attended.
Ready to join the next mission? Follow us on social media for exclusive behind-the-scenes content, updates on upcoming events, and a chance to win tickets to next year’s festival. Don’t just witness the magic—be a part of it!
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Goodell shared in a recent blog post, “We are at an inflection point as a nonprofit. On the one hand, global interest is at an all-time high, and the world needs Burning Man more than ever. On the other hand, we are well past the point where ticket revenues from Black Rock City are able to support our year-round cultural work“.
A large part of the crisis has its roots in the higher-priced tickets for this year’s Burning Man not selling the numbers they expected. “This $5.7M shortfall, combined with a $3M dip in receipts from main-sale tickets and vehicle passes, means that our year-end charitable donation target has essentially doubled to nearly $20M. This needs to happen before 2025 ticket sales and our annual revenue cycle begins in January.“
Finally, Goodell asked for a monthly $20 donation from those who are willing to keep the festival afloat, by saying: “The world needs what we offer now more than ever. For us to continue to be this force for good, convening people in person, inspiring creativity and innovation, and storytelling in ways that spark change, we need your help to raise the funds needed to preserve Black Rock City as the vibrant heart of Burning Man, and to protect the culture with which the event is intertwined“.
Read the full statement here.
The post Burning Man CEO Asks For Donations To Fund Future Festival Editions appeared first on EDMTunes.
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Out now on NLV Records, Pearl marks a turning point in the career of Lunoe, who lays bare her artistry after years of prioritizing club-driven tracks. The album reflects her fascination with movement across genres and flexes her extensive production palette, which spans techno, garage, bass, rave and indie-dance.
The album offers a dynamic mix: tracks that make you dance, others that invite introspection, some that feel ecstatic and others that mesmerize. True to her forward-thinking approach to dance music, the production is cohesive, crisp and vibrant.
In a heartfelt post, Lunoe shared that creating an album once felt "completely unattainable." She described feeling like an outsider throughout her youth, finding solace in music and, eventually, a community of like-minded friends at the club.
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Pearl features collaborations with Jamaican singer-songwriter Shanique Marie on "Polite," renowned British producer Totally Enormous Extinct Dinosaurs on "Right Here," UK duo Y U QT on "Only Love," Iglew on "Keeping Secrets" and J.O.S.H.U.A on "Body Heat."
Accompanying the album’s release is the music video for "The Seed." Lunoe dances against a backdrop of colorful, geometric shapes in the 90s-inspired video, perfectly capturing her album's vibrant sound.
Listen to Pearl below and find the new album on streaming platforms here.
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